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Swamp Thing

Longbox Graveyard #81

I’ve already afforded Swamp Thing a place of honor in my Top Ten DC Characters list, and today in my Dollar Box column at StashMyComic.com I go on at length about Swamp Thing #1, but the full Bernie Wrightson/Len Wein run on this book merits a column of its own. It seems like Swamp Thing has been with us forever … and he’s going on four decades of funny book adventures … but that such a seemingly shallow and exploitative character is still a vital part of the comic book landscape speaks to the inherent quality and intrigue of the creation. Swamp Thing wasn’t comicdom’s first significant swamp monster (that would be The Heap), and he didn’t even beat Marvel’s Man-Thing into print, but Swamp Thing is unquestionably the best of the muck monsters, and I think one of the more significant and underrated characters in comics.

Swamp Thing #2, Bernie Wrightson

Much of Swamp Thing’s present appeal owes to his many reinventions, first by Alan Moore in the 1980s, in what is arguably the finest run of comics of all time, but more recently from creators like Grant Morrison, Brian K. Vaughn, and even Scott Snyder in Swamp Thing’s current book (which I offered backhanded praise in my recent “Few 52” podcast). But at the root of all these reinventions are the original issues of Swamp Thing, by co-creators Len Wein and Bernie Wrightson. These worthy tales provide a foundation for a character still vital nearly half-a-century later, and they remain greatly entertaining comics in their own right. Not bad for a shambling mockery of a man in mud monster form!

I enthuse at length about Swamp Thing’s origin issue in my Dollar Box column, so I won’t repeat myself here, aside from noting that Swamp Thing #1 is a top origin issue, creepy and entertaining as a stand-alone story while still delivering all the meat-and-potatoes expected of an origin tale. Swamp Thing’s genesis is iconic and likely familiar to all readers by now — the story of scientist Doctor Alec Holland, set afire by a bomb while working on his “bio-restorative” formula in a remote swampland laboratory, the poor devil plunging into the swamp to put out the flames only to rise later as the monstrous Swamp Thing.

Swamp Thing #1, Len Wein & Bernie Wrightson

Later creators would re-spin the tale, with Alan Moore most famously turning the whole thing inside-out in “Anatomy Lesson,” but when Swamp Thing debuted in his own book in 1972, the origin was on-the-nose — yep, that was poor Doctor Holland trapped in that muck-encrusted body, a character purpose-built to be a misunderstood monster, with a human soul yearning to reverse its hideous physical transformation.

Swamp Thing #2, Len Wein & Bernie Wrightson

well before Alan Moore, Wein & Wrightson did an “anatomy lesson” of their own

That straight-ahead story style continues in the following three issues of Swamp Thing I review here, but this isn’t intended as a criticism. Rather I see it as a case of clear and deliberate storytelling, standing apart from other, more embroidered Silver Age tales in that it is so bare bones. These stories are simple and they recycle monster movie tropes but they do it so well that everything old seems new again.

Swamp Thing #4, Len Wein & Bernie Wrightson

I’ve seen this tale many times before, but with Wein & Wrightson I’m happy to see it again

Much of this is down to Bernie Wrightson’s tremendous artwork, but before I spin off in rhapsodic praise for the pencils I want to offer a few words for Len Wein’s scripting. Wein is easy to marginalize in any team that includes Bernie Wrightson but the exhaustive ten or fifteen minutes I spent on Wikipedia doing background for this piece indicates Swamp Thing emerged from a close collaboration between Wein and Wrightson. While it is difficult to extract at this late date who did what, exactly, we can look at Wrightson’s post-Swamp Thing work and see that he definitely benefited from his partnership with Wein. For the most part, Wein’s scripts are content to set the scene and establish tone and then let Bernie do what he does best, but in this it is possible to laud an writer for restraint, and also to recognize a case where a comics author contributes so perfectly to a piece of visual storytelling. I’m not the kind of comics fan who thinks pages must be swarming with clever word balloons to feel a comics writer has done his job; quite the opposite, in fact, and Wein’s work on Swamp Thing is this better sort of comics scripting, hand-in-glove with Wrightson’s art, fully a part of the piece and better for leaving unsaid what those Wrightson images so clearly communicate.

Swamp Thing #4, Len Wein & Bernie Wrightson

Ah, and those images! Wrightson’s art is as startling today as it was all those years ago, a beautiful blend of horrific character designs, expressive faces, perfectly-composed set pieces, and rock-solid storytelling. Greatly benefiting from silky Joe Orlando inks, Wrightson’s pencils transport us to all the gothic locales you’d expect of a 1970s horror book — murky swamps, creepy European castles, fog-bound Scottish moors — they’re all here, they’re all exactly what you’d expect, and they’re all jaw-droppingly wonderful.

Swamp Thing #4, Len Wein & Bernie Wrightson

For the most part, Wrightson breaks little new ground here, though I was was taken with the weird designs of Arcane’s Un-Men, particularly that talking hand mastermind …

Swamp Thing #2, Len Wein & Bernie Wrightson

… but it isn’t invention but reinvention that’s the point. I loved seeing Swamp Thing face off against Frankenstein’s monster, and the Werewolf too, and it didn’t matter to me that they were monsters by some-other-name. Copyrights be damned — Swamp Thing is a kick-ass monster and I want to see him fight other kick-ass monsters! Frankenstein vs. The Wolf Man can never compare with Bride of Frankenstein, but in his heart of hearts you know which one a twelve-year-old prefers.

Swamp Thing #3, Len Wein & Bernie Wrightson

It’s not all central casting monsters, either. Wein wrings some pathos out of the reveal of which brain resides in that Frankenstein form (and how he got there, too), and there’s even a bit of emotion in the Werewolf’s inevitable demise, a doomed child more than ready to move on but held on this mortal plane by parents all too unwilling to let go of their little boy, however murderous he has become. Wein’s around-the-gothic-world in eighty pages plotting does require some leaps of logic — the pontoon plane at the center of Swamp Thing’s transports does not withstand close consideration, unless we want to believe that hand-for-a-head Un-Man was somehow at the controls — but these are forgivable sins in service of a fast-moving and delightful plot, no more jarring than Indiana Jones hanging on the periscope of that Nazi sub for a thousand nautical miles. In a world filled with swamp monsters and a body-hopping arch nemesis such things can’t rightly be called ridiculous.

Swamp Thing #4, Len Wein & Bernie Wrightson

And by keeping the tale moving along and refusing to apologize for or dwell on its inconsistencies, we have that much more room for the main events, the monster versus monster fighting, the pathos of the twisted human souls stuck in those monstrous forms, and the minimal but emerging subplot of the human characters who misunderstand Swamp Thing, and are doomed to hound him to the earth’s end (among whom is Abigail Arcane, introduced in the second issue as a not-quite-damsel in distress, who will loom large as one of the most complete female characters in comics under Alan Moore’s eventual tutelage).

Swamp Thing #4, Len Wein & Bernie Wrightson

Abigail Arcane, white hair and fetching black go-go boots

There was an era when superhero books weren’t afraid to be superhero books, with big-shouldered muscleheads striking wide stances and smashing each other through the sides of skyscrapers — and this is a monster book in the same vein, full of crazy kanted angles and reaching shadows, and contriving to hang Swamp Thing on a cross in a cart because, well, it’s just looks so damn cool.

Swamp Thing #2, Len Wein & Bernie Wrightson

This whole run is like that … you can ignore the words and appreciate the art, or you can delve into the narrative and enjoy the whole package even more. Plus there are some places where words-and-pictures come together in ways that the comic form does best, as when Swamp Thing surrenders his recovered humanity to thwart the evil designs of Arcane …

Swamp Thing #2, Len Wein & Bernie Wrightson

… or when our hero tumbles down into the roots of Arcane’s castle.

Swamp Thing #3, Len Wein & Bernie Wrightson

However you slice it, this is a superior comics run, and I’m affording it a top grade, dented only slightly by a very minimal lack of originality, and that tiny bit of storytelling slight-of-hand that catapults Swamp Thing back and forth across continents on the wing of a pontoon plane, in service of a location-driven plot. Even then, I am picking nits — this is a series to be cherished and enjoyed.

So why am I restricting my review to four issues? That’s all the reprints I have! I am now on the lookout for the remaining six issues of Wein and Wrightson’s run, but perhaps a more seasoned hand can tell me if I should bother. Like the Silver Surfer, does this original Swamp Thing series peak in its forth issue, going into a painful decline, or do the remaining issues build on this very strong start? Let me know your opinion, in the comments section below!

Either way, I remain tremendously impressed with Wein & Wrightson’s Swamp Thing. Long may he shamble!

  • Title: Swamp Thing
  • Published By: DC Comics, 1972-1976
  • Issues Reviewed: #1-4, November 1972-May 1973
  • LBG Letter Grade For This Issue: A-minus
  • Own The Reprints: DC Special Series

NEXT WEDNESDAY: #82 Reader Appreciation Award!

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About Paul O'Connor

Revelations and retro-reviews from a world where it is always 1978, published once a month or so at www.longboxgraveyard.com!

Posted on January 2, 2013, in Reviews and tagged , , , , . Bookmark the permalink. 23 Comments.

  1. Great review Paul. I’ve read most of the Moore stuff but none earlier. This has intrigued me enough to track some down. That art is phenomenal.

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  2. Happy New Year, Paul, and YES get the rest of the run. In some ways it gets even better. #8 is a favorite here, “The Lurker in Tunnel 13,” featuring a demon that later pops up when Swampy guest stars in Challengers of the Unknown. The reprints are good for the higher paper quality and memoirs, although we prefer the color palette of the originals (despite their now-faded appearance.) Viewing them side by side highlights the line art in different ways. You can get all but the very earliest issues for not much more than you’d pay for a new book these days, if you can accept VG+/F- condition. They’re not as cosmic or disturbing as Moore’s run, but true classics nonetheless, and a good read.

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    • I revere Alan Moore’s run on Swamp Thing but there is still room in my collection for these more traditional stories. Thanks for the recommendation and I will add issues 5-10 of Swamp Thing to my want list (maybe I’ll hunt them up at this year’s comic shows). I see #5-8 were reprinted in later issues of DC Special Series and as I don’t mind reprints I expect those will be my targets — you get the old comics feel and they’re still dirt cheap.

      I too prefer original print for horror books — that’s why I’m filling in my Tomb of Dracula run even though I have it all on digital.

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  3. Totally agree with Mars Will Send No More. All the issues were reprinted in the DC Special series (#2, 14, 17 and 20), and I think they have the same color and paper as the original run. Side by side you can hardly tell the difference. Lovely stuff and you can get them VERY cheap — but I am a very low-grade guy.

    I’d also recommend the next few issues with Redondo art. I completely puzzled as to why they are never mentioned; Nestor Redondo is never a step down!

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    • Nestor Redondo likely gets short shrift because it is a handy point to mark a change in the series. That first run does end badly as I recall, with Swamp Thing co-opted into the usual Silver Age superhero storylines — it is unfair to lay that body at Redondo’s doorstep, but that clearly isn’t where things were going under Wein and Wrightson, so knowing that is the future, maybe most people (like me) choose to step off the Swamp Thing express when Redondo boards the train.

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  4. I thought perhaps Swampy had beat out Man-Thing through the HOUSE OF SECRETS #92 shortcut — but that was July 1971, and SAVAGE TALES beat that by two months. Still… close!

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    • Plus Roy Thomas introduced “The Glob” in Incredible Hulk #121 in 1969, so maybe we should just accept that the roots of comic book swamp monster origins will remain forever … murky!

      Thanks for reading and posting!

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  5. About three years ago, one of my best friends and I deicided to read every appearance of Swamp Thing ever. Digital comics making this possible, we were astonished how well the Wrightson/Wein stuff not only held up, but completely continued to excel. Their stuff, while having many trappings of the 70’s, also possesses a timeless quality that makes it almost seem like it could have been made in nearly any period.

    I’m also of the mindset that without this great springboard from which to work, Alan Moore could never have done what he did with Swamp Thing in the 80’s. He certainly made the character his own and reinvented him, but he did much of this, especially early in his run, by highlighting pieces of the existing tapestry that were not explored here.

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    • Wrightson was a rare talent (still is!). But Wein shouldn’t be underestimated — he worked really well with Wrightson’s images.

      I have a review of Alan Moore’s Swamp Thing coming up here later in 2014. I agree that his run would not have been half so great without this superior foundation to build upon, but that’s Moore — he had a genius for reinvention. In this case, with the deft stroke of changing Swampy’s true nature (without invalidating any other element of his origin) he took the character from good to top tier.

      Not bad for our shambling muck monster!

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      • I am def not selling Wein short on his contribution; I just like to put Wrightson’s name first for some reason. Their collaboration on this should be placed as one of the greatest team-ups of all time!

        The book stayed good for a bit, but once they were gone it went downhill fast. later, SW is teaming with Deadman & the Doom Patrol in some just awful stuff, and this coming from a guy who loves Deadman, SW, and The Doom Patrol.

        Despite his recent rants, Moore remains to me the greatest of all time. I have gotten at least 4 people who don’t even like comics to read his SW run, and all have come away remarkably impressed.with it.

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        • Moore’s run held up very well in my re-read, particularly the first year.

          And Wrightson is very special. Wish he worked more in the field, but I expect his opportunities are more lucrative elsewhere, and I get the impression that Mr. Wrightson isn’t … ah … quite fast enough for a monthly comics assignment!

          Maybe we’ll squeeze a stand-alone, Swamp Thing original graphic novel out of him sometime.

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  6. I recently did an interview with Aquaman writer Jeff Parker, and he specifically pointed to Wrightson and Moore’s “Anatomy Lesson” as his all-time favorite single issue of a comic book, and the one that set him on the path to being a comic book professional. He admitted to taking out notebook paper and copying “every other panel that Bernie drew…”badly, I might add, because I was only 15 or 16”. But the majority of the discussion that night – when it wasn’t about the wonderful beer that someone had brought to the set – was all about Len Wein and Bernie Wrightson’s initial run. And rightfully so.

    Wein and Wrightson’s Swamp Thing were some of the first comics outside of the traditional costumed adventurers that I ever remember reading. What a glorious introduction to the horror and monster genres of comics that I had been too young to have eyes for, and what an indelible impression they made.

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    • They really hold up, don’t they? In a way, their simplicity and happy embrace of familiar tropes give them a kind of timeless quality. Wrightson’s work is rich in ways not commonly seen today — he’s a master storyteller, he communicates atmosphere and mood, and he isn’t afraid to use cartooning techniques to create memorable faces and expressions. He was part of that generation (with guys like Eisner, Ditko, and Wally Wood) that used every part of the artist’s toolbox in pursuit of telling stories, rather than striving for some technical artistic or photo-realistic detail. Wrightston was the whole package (and I think he’s never been better than when teamed with Len Wein on this book).

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